Orchestral concerts
Amor Sacro / Amor Profano
28.02
Wed.
8:00 PM
NFM, Main Hall
Programme:

G.B. Pergolesi Stabat Mater
***
G.F. Händel Tornami a vagheggiar – aria from Alcina HWV 3; Furibondo spira il vento – aria from Partenope HWV 27; Lascia ch’io pianga – aria from Rinaldo HWV 7
A. Vivaldi Concerto in A minor for two violins op. 3 no. 8 RV 522 from L’estro armonico: II. Allegro; III. Larghetto e spiritoso
G.F. Handel Torna sol per un momento – aria from Tolomeo, re d’Egitto HWV 25
A. Vivaldi Gelido in ogni vena – aria from Farnace RV 711; Concerto in D major RV 208 “Grosso Mogul”: I. Allegro; Sento in seno ch’in pioggia di lagrime – aria from Il Giustino RV 717
G.F. Handel Scherzano sul tuo volto – duet from Rinaldo HWV 7

Performers:

Aphrodite Patoulidou – soprano
Jakub Józef Orliński – countertenor
Il Giardino d’Amore 
Stefan Plewniak violin and direction

Venue:
NFM, Main Hall
plac Wolności 1, 50-071 Wrocław
Tickets:
from 120 to 280 zł

They are both fascinated by breaking conventions – he breakdances and attracts thousands of followers on social media; she performs with a metal band. Jakub Józef Orliński and Aphrodite Patoulidou, apart from their extraordinary musical sensitivity, are characterized by questioning the divisions into what is light and what is serious. During the heyday of the Baroque style, Giovanni Battista Pergolesi presented a similar attitude. Therefore, it seems that the interpretation of his musical pieta, balancing on the edge of contemplation of the sacred and feverishness typical of the opera, performed by the singers and the Il Giardino d'Amore orchestra, which often collaborates with the Polish countertenor, will be an event that no music lover can miss.

“The greatest and most moving thing that has ever come from a composer’s pen,” wrote the leading Enlightenment critic and philosopher Jean-Jacques Rousseau about the duet opening the Stabat Mater. The work, completed by Pergolesi shortly before his death in 1736, later became the most widely printed stand-alone piece of the entire 18th century. The fame of the author was so great that even in the distant Scotland the composer’s name boosted the sale of prints that were falsely attributed to him by clever publishers. This is not surprising – anyone who hears Pergolesi’s treatment of the medieval sequence at least once will be moved by the intimacy of the depiction of the despair of the grieving mother.

This almost theatrical expression of Pergolesi’s work, which at least nominally belongs to the world of sacred music, will be an excellent introduction to the second part of the concert. It will focus on the operatic works of Antonio Vivaldi and George Frideric Handel. It is difficult to imagine the history of opera without the works of the latter. The artists will present, among others: two excerpts from the groundbreaking Rinaldo, which was the first opera Handel composed for London. Vivaldi is known mainly as the author of a dizzying number of instrumental concertos. Il Giardino d'Amore run by Stefan Plewniak will present two of them. Vivaldi’s operas,  more or less as numerous as those by Handel, although inferior to them in popularity, show him as an artist who perfectly understands the possibilities of the human voice and how to use it to achieve the best dramatic effect.

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